e-book Kingdom Of Shadows

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Kingdom of Shadows () is a novel by Alan Furst. It won the Hammett Prize. Plot summary[edit]. The story is set in Europe between April and July.
Table of contents

• In the kingdom of shadows: the semiotics of cinema
• In the kingdom of shadows: the semiotics of cinema – SemiotiX
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Nobody watching the film will know these stories but they are present, somehow we feel something comes across. I understand that you film with no sound, then construct a soundtrack afterwards.

Can you talk about that process? We created the sound and music in the same way we created the images.

We had an idea of the instruments we would like to use, we thought of these as if they were characters and set about casting them as we would actors, the chorus is a character, the trumpet another character, the drums another, etc. We then arranged to have short improv sessions with each of the musicians, usually lasting about three hours for each player.

Each instrument was recorded separately often without hearing the other tracks that it would accompany. In some ways it was a miracle that all the tracks worked together but then we believe in miracles so we trusted our instinct and let all fall into place. We are particularly interested in sounds that create physical sensations, closely recorded noises that make the hairs stand up on the back of your neck or that make your heart beat faster. This enabled us to study every moment, every frame and spend time moving and creating physical connections between ourselves and the characters. Could you say a little about your cast, how you found them, and how you directed the movement involved in constructing the narrative?

The characters in this film are all archetypal, and to a certain degree the personalities were quite vague so that when we found performers we wanted to collaborate with we could allow for their personality and physical form to shape out the character. Not recording sound on location allows us to direct as if making a silent movie, we talk the performers through their actions, telling them what to do and where to move to but it is certainly not that they are puppets, each performer brings so much to the role, it is a magic moment where as they move we react and direct them to do more or less of something, in these moments we have to be completely in tune with each other, feeling our way through the scene in a mystical dance between us all.

• The Stories That Haunt Us;
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• Big Fish Little Pond.

What was your experience of seeing it on the big screen, with an audience, for the first time? Were there any surprises or revelations? Yes, it was the first time we had seen it projected and it was wonderful! We make films to be seen in cinemas and when we have the chance to watch it on the big screen it confirms to us why it is so important.

Our films need to be immersive, they are not just stories, they are experiences and the bigger and louder the experiences the better! Ruiz sporadically shows Sister Morales in action, opting more to paint a blunt image of a potential futility for these marches, especially when their loved ones have been missing for years, and the police force is known to be corrupt. There is one moment in which Sister Morales sits with a woman as she pleads to government officials for help, but it is cut with a bizarre, easy resolve despite the extreme emotions at the center of it. Mirroring the documentary itself, Ford is not exactly the most charismatic presence, even when Ruiz has him staring straight back at us in his testimonial, talking about how his smuggling plane was caught by the feds.

As Ford becomes more storyteller than anything else, Ruiz is stuck in how to present him, using out-of-context old photographs as a generic B-roll; even home video of Ford going through Mexico, or a side conversation with his reasonably disturbed son, provides nary a pulse. The son of illegal immigrants, he grew up among people who did business with the Mexican cartels, and saw how the they provided a mirage of opportunity to family and friends.

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• The Good Son!

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